The title Mass Hysteria seems, at least some of the time, an accurate way to describe this cabaret. Certain on-stage antics by our performers and show creators – Iva Rosebud, Meg Hickey and Jens Radda – did produce something like “hysteria” for a good chunk of the crowd, judging from vigorous reactions. As for the “mass” part, the work had a variable commitment to sharing its theology with we acolytes.
Before too long, the show invites some scrutiny of its title. Rather than being some alternative religious experience similar to a Christian mass (which was referenced at various points), we had some of this blended with other elements, drawing on Christian creation beliefs or sacraments, or Greek mythology.
Quite early on, the show sets up a structure of pulling a quote from its own sacred text (the book of Hystericus, sometimes showing a little biblical influence, say from Genesis) to introduce a scene, say “Communion”. However, other inclusions didn’t comfortably fit within that framing.
The result is a feeling that the show’s coherence wobbles at times. Maybe this wouldn’t matter if it was a late show and we’d all got a few drinks in. (Mass Hysteria reportedly did very well at Adelaide Fringe 2026 at 10pm.) But as an 8.00pm show, the wobbles are a touch distracting for those who, whilst enjoying the high-energy dance moves and harmonies on stage, might sense that a sharper focus could transform this lively show into one with a more satisfying through line.
The up-tempo opening number encouraged us to “lay your burden down and lift your spirit up” in a suitably rousing manner that showcased the vocal talents of the trio. We would then detour from being directed towards salvation, in favour of regularly entertaining distractions from the troubles of this mortal realm. The outrageous (for devout Christians, probably literally) take on communion bread and wine here will likely earn similar fringe infamy to a nuns-gone-wild sequence in GODZ from a few years ago.
Another notable sequence had our singers, as disgruntled nuns in black and white habits (think Sister Act with more sequins), explaining the challenges of running a parish in their rewriting of Smoko by The Chats. It was amusing, even if we might not understand why this was happening at this time. (The sound mix caused the vocals to be lost under the backing on occasion, so it’s possible that I missed the lead-in.)
Maybe we could infer some intentions. Perhaps a scene with full-frontal nudity is not just there for cheekiness or shock value, but is also a repudiation of the shame about sexuality that comes bundled up with some forms of religious instruction?
At other times, aspects of the faith come across more clearly. For example, “Baptism” occurs around the middle of the show, suggesting that it should be an adult’s choice to enter into a belief system, rather than inheriting it from one’s parents. (Inconveniently, we don’t really know what anyone is being baptised into at this point, so we could argue that this is more about obliging charismatic leaders rather than informed consent.)
Similarly, “Ascension” was introduced with the idea that disciples “did not turn towards heaven, but towards each other” which is a sentiment as snappy as it is lovely. Wouldn’t it be wonderful if religion was designed to bring people together, instead of having a side-effect of keeping us apart.
After the performance, as the frivolity fades, it felt as though something quite important is trying to emerge. These days, many people feel excluded from organised religion, Eastern or Western, either because they aren’t welcome, or because they can’t tolerate high principles not being honoured in practice.
But outcasts miss out on the benefits of community and connection that accompanies religious practices. Maybe a show like Mass Hysteria is a response to feeling that loss? With a little more cohesion, maybe this show could allow a congregation of fringe punters to be liberated, even temporarily, from the world’s various judgements and intolerances.
That might well take Mass Hysteria beyond a collection of often-entertaining bits, and closer to a quasi-religious experience that people will remember for some time, much like how I remember The House of the Holy Afro.
Some fringe punters might not care for any of this, being more interested in finding an entertaining night out. In this show, this was aided by Darcey Eagle’s choreography, blending fun with attitude. Costumes from Bryn Meredith and wigs from Esther Rix give our performers glamour or mythological resonances.
Hickey seemed to largely get the best treatment from the sound mix, and impressed with an ability to go from garage rock through to operatic refrains. And, Rosebud used that lanky frame effectively in amusing moments of physical comedy. So fringe pilgrims, even if you’re not that interested in the nascent philosophy of this new church, there’s a good time to be had amongst the pews of the ETU Ballroom.
Mass Hysteria
Festival Hub: Trades Hall – ETU Ballroom, Corner Lygon and Victoria Streets, Carlton
Performance: Thursday 1 October 2026 (8.00pm)
Information: www.melbournefringe.com.au
Image: Mass Hysteria – photo by Georgia Moloney
Review: Jason Whyte